Trading 4’s With the Blues

With it’s roots in the lamentations of slaves, the lyrics and tone of American blues genre is often deliberately grim, “Woke up this morning, blues was fallin’ all around…”  However the degree of “bluesiness” can be regulated by the number of “blue” notes the improvising musician chooses to employ.   In previous posts, I discussed the pentatonic and bright blues scales as collections of “fallback” notes for improvisation.  Here are the formulas for review: Pentatonic Scale Formula: Scale degrees 1, 2, 3, 5, and 6. Bright Blues Formula: Scale degrees 1, 2, b3, 3, 5 and 6 Here’s how they work out in the key of G: G Major Pentatonic Scale = G  A  B  D  E  G (G major scale minus C and F#) G Bright Blues Scale = G  A  Bb  B  D  E  G (pentatonic plus flat 3rd) A stock boogie bass line on the blues progression … Read more…

Pentatonic Improv

Imagine a collection of notes that would sound good regardless of when or how you played it. Such a thing exists.  It is called the pentatonic scale and it is one of the great secrets of improvisation. Creative musicians around the world playing many different styles rely on these 5 notes (a “nickels worth”) as a basis for improvisation. For tunes that stay in one key, the pentatonic scale will sound good regardless of how you order the notes or what chords are under your improvisations (5 notes worth their weight in gold). The reason this works is because there are no half steps to create dissonance.  Pentatonic Scale Formula: Scale degrees 1, 2, 3, 5, and 6 The pentatonic scale is similar to a major scale except that the 4th and 7th scale degrees are omitted. For example: C Major Scale = C  D  E  F  G  A  B  … Read more…

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